Sam H. Freeman, Ng Choon Ping – Femme #Berlinale2023
A thick and marvelously shot film, on homophobia and machismo, with a unexpected brutal honesty at its core.
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“Conversation with” at the 20th Marrakech IFF, interview with actor Willem Dafoe Bénédicte Prot
Pablo Larrain – The Club #Berlinale
Pablo Larrain – director – The Club
FRED’s Angelo Acerbi meets filmmaker Pablo Larrain, who presented his latest work “The Club” at the 65th Berlin International Film Festival.
Pablo Larrain is not a filmmaker of easy movies. He alwaks looks to dig withing the darkness of humanity. His criticism of the church intended as a corporation is strong in this film, much like his depiction of good and bad, or more precisely right or wrong, which is not at all obvious and easy even when nuns ad priests should always be, by definition, always on the right side.
Plot: A group of priests of various ages lives together with Mónica, a nun, in a house on the Chilean coast. When they are not praying and atoning for their sins, they train their greyhound for the next race. What on earth has brought them here, practically to the end of the world, where a stiff breeze constantly blows? When a new priest moves in, a man suddenly turns up at the door and starts making strong accusations about the newcomer. His voice grows louder and louder until a shot rings out. The priest has evaded the accusations by committing suicide. The church sends an investigator, but does he really intend to uncover the truth or is he merely meant to ensure that the appearance of beautiful holiness is maintained?
Little by little the film brings dark secrets to light, explores the past of these servants of God and mercilessly reveals contradictions in the Catholic Church. At least Pablo Larrain’s screenplay achieves what the church itself has failed to do, and metes out just punishment to the black sheep. In doing so, it strictly abides by the rules and rituals of Christian martyrdom.
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